Bodies and Voices: The Force-Field of Representation and

A wide-ranging number of essays concentrated on readings of the physique in modern literary and socio-anthropological discourse, from slavery and rape to lady genital mutilation, from garments, ocular pornography, voice, deformation and transmutation to the imprisoned, dismembered, remembered, kidnapped or ghostly physique, in Africa, Australasia and the Pacific, Canada, the Caribbean, nice Britain and ireland.

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Additional resources for Bodies and Voices: The Force-Field of Representation and Discourse in Colonial and Postcolonial Studies (Cross/Cultures: Readings in the Post/Colonial Literatures in English, Volume 94)

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All these “deformities,” together with an interdiscursive and intertextual play with classic European drama – Shakespeare, Calderón, Beckett, Brecht and Góngora – create White’s version of a ‘third space’ of corporealities. ½Š¾ The section on Britain and Eire begins with Susanne Pichler’s “Between Aphasia and Articulateness: Alien-Nation and Belonging,” which writes itself into the growing awareness of boundaries between cultures, which work both to include and exclude. Diasporas and migrancy disrupt central themes of modernity like the nation and cultural homogeneity, leading to both greater awareness of cultural identity and difference and to greater insecurity about them.

It is precisely the liberal position that receives ironical treatment in Nadine Gordimer’s “Six Feet of the Country” (1956). An unknown dead African has been found on a farm and he proves to be the brother of one of the farm labourers, Petrus. 2 His comment on the outcome betrays, beneath his alleged concern, his total lack of feeling: “Unfortunately, it was not impossible to get the body back” (184). At one moment during the funeral procession, the old father comes to suspect that the too-heavy corpse cannot be his son’s, a feeling that is corroborated when they open the coffin.

The novel turns on the ambiguity of women’s bodies in men’s minds: as vessels of sexual subservience, but also as the source of speech and dreams. ” The figure of Satyasara, one of “the Eternals” (whose name means ‘truth’ + ‘sky’ in Sanskrit), has turned into a halfmonkey, a performing freak, a joke of nature brought to the freaks’ wing of Shahryar’s harem. Here she turns silent when the eunuch she has fallen in love with is executed. Combining Leslie Fiedler’s Freudian interpretation of the eros of ugliness with a Bakhtinian carnivalesque twist, the essay reads the novel as a demonstration of how monstrosity, instead of remaining marginal, becomes a politically central figure of womanhood as such within the symbolic order.

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